Avant-garde music is sort of research music. You're glad someone's done it but you don't necessarily want to listen to it.

There is a sort of convergence starting to happen between the computer and musical instruments, but it's still quite a long way off.

For me it's always contingent on getting a sound-the sound always suggests what kind of melody it should be. So it's always sound first and then the line afterwards.

I'm very good with technology, I always have been, and with machines in general. They seem not threatening like other people find them, but a source of fun and amusement.

In the 19th century, a lot of people were against outlawing child labour, because to do so would be against the very foundations of a free market economy: 'These children want to work, these people want to employ them... what is your problem? It's not as if anyone has kidnapped them...'

We have two different ways of working. One is completely unstructured where somebody just starts playing and somebody joins in and then the other person joins in, and something starts to happen. That's occasionally what happens. What more often happens is that we settle on some sort of - a few sort of structural ideas, like, "Okay, when I put my finger up, we're all going to move to the extremes of our instruments. So, that means you can only play either very high or very low or both. And we're going to stay there until I take my finger down.

I don't want to do free jazz! Because free jazz - which is the musical equivalent of free marketeering - isn't actually free at all. It's just constrained by what your muscles can do.